Archive pour la catégorie ‘Augmented Reality’

The following text was written in the context of the Carbon versus Silicon think tank, gathering artists and scientists at the Banff Centre in 2003. During the conference, I was impressed by the high scientific level of the participants, and I felt embarrassed by my position as an artist, hardly trying to get the big picture. I was just wondering about the legitimacy of most of the graphic representations of the nano world that was for me more interpretations and justifications of theories, as if one would be trying to persuade the audience of the credibility of a desirable fiction.
I decided to do a performance for my conference. The text of my power point presentation should be at the same time and the definition of an art project questioning the scientific and/or aesthetic issues of the emerging nanotechnologies.

Probably because of the complexity of its features, this project has never been done.

Most of the sensible minds have understood, since now long, that there is no reason to produce significant artwork nor explore virgin territories. It is a fundamental fact: it has to « be like contemporary art »…as reminded us utterly relevantly the Pompidou’s curator. One never measures the reach of this consideration. Recognition is the basis for environment espousal; therefore it goes through the production of indications, minimum of the respect of implicit norm. No use, in this case, to be surprised by the rejection that does not increase amongst rational but amongst the necessity of protecting all or part of the rules that define the instituted frame in which art can move in peace.
Then, one has to identify the bound properties of these contemporaneous external signs, these that immediately show to a critic, a curator or a collector they are in known ground, with just enough thrill to foresee a possible danger, maybe true, but that could not reach the body or mind of the one who feels it.
Between these legitimizing attributes, certain characteristics constitute permanent forms that lead them to lasting relevance.

Otherwise, the use of flavor in agribusiness that comfort the consumer, making him sure he is eating genuine strawberry freshly picked, tasting land, assuming the biological cultured tag, is also of this order.

The project is to seek, for the equivalent artwork, to reach the essence of contemporary art.
Amongst the essential oils of contemporary art, I immediately put away the linseed oil fragrance…the turpentine is way too much linked to the fifty’s exhibitions to give this contemporary scent that wants to affect all lasting tradition. The smell of vinyl paint that defines the freshly done up white box is discrete and undeniably present in all the well off private views.

The “Contemporary Art” essential oil will have the possibility to be distributed in small sized bottles, ascetic design, in museum shops…or better, in the artist’s furniture shop.

Since one can easily follow drifts of vision on image, one can imagine the deviant form of stereoscopy, supposed to make vision “solid”, building a perverse space, on the scale of those that confuse in pleasure effects where the relative distance grows with intensity of the look on the thing.
The more you interest me, the more you seem far.

The object of desire, more cense than coveted, without linear degradation – perspective reduction of the size – leaves away for the watcher, frowned upon observer of the scene. Here it is not transav (“Husum” effect, say the exegete movie goerings against their will) of joyful remembering, but the definitive bleary of deviant senses, of the unreachable unappeased.

Player: FIAC 2006
Medias wish to build an image of the world further authentic than supernatural, reality shows bring a global vision to a single one, single and apparently common, of which the general vision an the media-related alchemy changes into extraordinary considerations.
Until the middle of the 19th century, the means of painting tended to transpose the extraordinary by conferring it a tangible substance.
When reversing this proposition, and considering the following, Back Frame, that is a small device integrating the cartel beneath certain painting, less or more important, in a museum; it is composed of a video camera and a transmission kite, such as WiFi.
Therefore, results a new artwork, in the homes…where a screen of the size of the museum paintings, receiving the image of the painting watchers and whom seem to be appreciating, your inside living. They even sometimes close up, to admire details (the cartel readers, in fact).
Each artwork item is titled:Les Arnolfini, Back FrameLa Joconde, Back FrameL’enlèvement des Sabines, Back FrameLa Femme qui pleure, Back Frame

If it is the artist who influes on the vision of the watcher, the final artwork should be signed of his name, and the conclusion would be that the eye of the watcher is formed by the artist himself.